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1 ÌÏ Ù ˆÁ Ô ÂÁ Ë È ٠ÁÂappleÚÙÏ apple Èapple ÌÈÁÓˆ ÓÈ ÌÈappleapple ÛÂapple È ÏÈ Ùˆ Â Ú È È ÏÂ Æ Â È Î appleóâòó ÈÈÁÓˆ ÔÂÂ Ó ÓÏÂ Ó È ÂËÒÈ Ì Ï ˆÂÓ Âˆ  ÌÓ ÌÏÈ ÈÈÙÂ Â Ï ÌˆÓÂˆÓ ÙÒÓÏ Èˆ  ÌÈ ÂÚ Á Ù ÁÈ ıú Â È ÌÈappleÓÒÓ ÆÛÂapple Ï Á ÔÓÒÓÏÂ È ÂÁ appleè ÁË Â ÈÓ appleè ÁË Ï Ë Ó Â apple Æ ÂÁ ÈÙ ÏÚ ÈË Ù ÁË Ì ÆÈapple ÈÚ Á Ó Ï  apple appleóòó ÈappleÓ Ó ÔÈ Â ÎÏ Ï Ë Ó È ÂÓÏ Ë Ó Ï Â ÂÈ ÂÁ È Ï Æ È Ò Ï Â È apple ÔÈ Á Ó ÁÓ ÌÂÏȈ  ÂÚÈ Â Æ ÂÈË ÙÏ ˆÁ ÂÓÏÚ Ï ÈË Ù Ù Áapple ÌÈÓÂÏȈ ÓÈÏ ÂÓÏÚ ÆÌÈÈ ÈË Ù È Â Èˆ Á ÓÓ Ô Â Ó ÁË Ï Â ÈÎ ÔÂÈÒÈapple Á  ÌÈ È Ó ÌÈÓÂÏȈ ÆÌÈÈÁ ÈappleÓÈÒÓ È Â Èˆ Á Ó ÏÎÂÓ Â Î ÂÓÈÏ ÌÈÏÚÓ ÌÏ Ù ÓÏˆÓ Â Â ÈË Ù Á Ó ÂappleÏ È ÏÂÎÈ È Ï Ï ÆÌÈÈÁ Âapple  ÔÈ È Ï ËËÂ Ï appleóêâ ÌÏ Ù Âapple  apple Ó ÏÂ È Ô Â ÂÁ Èapple ÈÏÈ ÂÓ ÍÏÓ Â Â ÔÈÏËÈȈ ÒÂÙ Â Ú Â ˆÂ  ˆÁ ÈÓÂÏȈ ÆÌψÏ ÆÔ ÈÚ ÈÈapple ÂÁ ÁappleÚÙÏ ÈÈÁÓ Á Ó Â Ï ÏÂÎÈ ÏÎ Ï ˆÂÈ ÏÚÂÙ È ÂÈË ÙÏ Â Â Æ Â Â ËËÂ Ó ÓÚapple ÌÈÓÂψ appleappleâ Ó È Í ÌÂ Ó Â Â ÛÂapple ÈÏÎÈ ÈÓ ÔÈ ÌÈÁÓˆ ÂÓ ÂappleÏ ÈÙ Ï ÈÂˆÓ Î ÊÈ È apple Ô Â Ì ÌÈÁÓˆ Èapple  ÌÈÏÚ Á Ô ÂÓÏ ÈÏ È ı È ÂÒ Ò ÒÈ È ÈappleÂËÒÂÂÈÏ Ï appleââ Ó Â Á È Â ÌÒÈÒ ÌȈȈÓÁ ÌÈÏÁapple ÛÂ Æ apple ÔÂÓÈËÒÈÏ Ô Ú Ô ÂÙȈ ÌappleÈ ÌÏÂÎ ÌÈˆÚ Æ ÂÎÓ ÓÈ ˆÂÓ ÆÌÈ ÈÂ Ó ÌÈÓÏ Â Ó Ï ÌÈÈÓÂ Ó È Ó ÔÂو ÌÂ Ó ÈÒ Ó ÌÈˆÚ ÙÂ È Âˆ Ó Ï ËÏÁ Æ È Ù Ó appleâî È Â Â Ï Ì ˆÂÓ Âˆ Ô Æ Ó Ú ÈÏÎÈ Ú È ÈÏÚ Â Ú ÂÚ Ï 41 40

2 Ë Ó Ï Â ÂÈ ÂÁ È ÌÈ ÁÓ ÌÂÏȈ  ÂÚÈ Â ˆÁ Â È apple ÔÈ Á Ó ÂÈË ÙÏ ÌÏ Ù ˆÁ Ô The illegal nature of the gaze and its photographic documentation accentuate the tension between the yard s public accessibility and its private character Garden Yard Efrat Shalem Garden Yard Efrat Shalem Street Project 2 frat Shalem was invited to wander about in Tel Aviv, to roam the streets of Ibn Gabirol, Mane, Dubnov, Tzeitlin, King David Blvd., Modigliani, etc., and take pictures. The photographs were presented in the form of a print work a newsprint pamphlet. The ability to prompt the living space to converse, to decipher its details, depends on the education of the wanderer or reader. Observing the photographs, landscape architect and local inhabitant Naama Meishar provided us with the names of the plants growing there, among them: Canary Island Pine, Chinaberry, Terebinth, Erythrina Corallodendron, Orchid tree, Livistona Palm, Shrubby Althaea, Nerium Oleander, Wood Sorrels, Dalbergia Sissoo, Carub, Bird of Paradise, Showy Bottlebrush. Quite an impressive list! The trees are not all local, but rather localizeddomesticated. They are originally from Asia, south and north America, and Africa. Certainly not from European countries the countries from which the neighborhood s inhabitants hailed. However, while for the experts (e.g., landscape architects, gardeners) the list of plants is interpretable and readable, for the average viewer it is marked as greenery. The history embodied by the diversity and nature of the greenery, the plants ages, names and countries of origin are reduced into a small number of signifiers green, tree, bush, flower, grass, and a single overall signifier: landscape. The areas of the front and back yards are private territory by law. The artist s viewpoint marked a border point in the urban sphere. The objects of her gaze ostensibly have nothing to hide. However, the illegal nature of the gaze and its photographic documentation accentuate the tension between the yard s public accessibility and its private character. The photographs expose a practice of disregard to an existing private-public space. A flagrant disregard and repression, an attempt to conquer an area emptied of signs of life. The photographs reinforce the latent violence contained in the private-public space photographed by Shalem, questioning our ability to read the space in which we live.

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4 ËappleÓÏ È ÈÁ Ô appleâî ÂÈ ÈËËÒ ÔÓÊ ÓÈÓ Â ÈÓÚ Ô ÂÓ Âˆ Ô ÂÓ Ô Â Æ Ï Èapple ÈÊË È ËÓÂ È ıèá ˆÂÈ ËappleÓÏ Â Ê È Â Èˆ Á Ó ÔÈ ÁÈ Á Ó ÔÈ Ï ÂÁ Î Ó È ˆÁ Ï ÈË Ù ÈˆÁ ÆÛ Â Ó The hedge is the most static element in the neighborhood, both in terms of its durability and in terms of its Cartesian geometrical shape. It is an element that creates the solid partition between the public sphere the sidewalk, and the semiprivate sphere of an apartment building s courtyard.

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6 Â È ÁË ÌÈÒÎÓ ÌȈȈÓÁ Æ Î Ú ÌÈÈappleÓÊ Â Â È È Ó ÌÈ ˆÈÈÓ È Ú ÂappleÈ ÌÚ ÒÁ ÂÚ Û ÂÁ Ï ÌÈÁË Ì ÌÈÒÎÓ ÌÈ Â È Â È Ï Ûˆ Ï ÂappleÈ ÌÈÎÙ  ÌÈÏÙÂËÓ È Ò ÓÂÚ Â È Èapple ÂÚ Æ Â ÈÓÂ Ó ÌÂÁÏ ÌÈÏÙÂËÓ Ï ÌÈÁË Ï ÆÌÈ Â È ÔÈ Ó ı ˆ Ó The wood sorrels cover the area with greenery, generating carpets of radiant green, painfully temporary. Winter treats the gardens kindly: green weeds cover the untended areas too, transforming the gardens into a sequence of bright green. The richness of the green hues stands in contradiction to the unmanicured areas, the local heat sprouting in-between the greens. In the past, people used to throw garbage bags in the bins that were located in the backyard. Nowadays, in the era of green dumpsters on the sidewalks, the bin path too has been covered with weeds. ÈÁÙ Ù ÂÈ ÌÈÎÈÏ Ó ÂÈ Ú Ô ÈÚ ÌÂÈÎ Æ È ÂÁ ˆÁ  ÓÚ Ï Ê ÈÁÙ ÏÈ Ì Î Ó ÏÚ ÌÈ Â È ÌÈÁÙ ÆÌÈ Ú ÒÂÎ Ï Ê ÎÂ Ú Ô ÈÚ ÍÂ Ó ÈÓ ÓÚapple ÛÂapple ÈÏÎ ÂappleÂÓ È Â ÈÎ Title texts by Landscape Architect Naama Meishar